— Floodtide by John Eacott makes music from the movement of tidal water. A submerged sensor gathers information from the tidal flow that is converted into musical notation read from screens or mobile phones by musicians.From March to August 2015 a new phase of the project, Floodtide Navigate, takes place. Aboard sailing vessel Jacomina, the project will sail around Northern Europe making performances and taking on resident collaborators as we go. — (John Eacott, Natasha Bird)

Commencée il y a trois/quatre ans, et aujourd'hui plus stable et complète, cette étude documente le parcours et les œuvres du compositeur Jean-Claude Eloy à partir d'un collectage d'articles de presse autour de la création de ses œuvres et autour d'une réflexion singulière sur les espaces et les champs de la musique contemporaine sur les cinq dernières décennies. La particularité du parcours encore très actif de Jean-Claude Eloy, hors classification, s'appuie sur une ouverture essentielle de la musique à "ses" cultures (historiques, acoustiques, etc.) et aux autres cultures. Ceci permet de discuter aujourd'hui de l'envergure exploratoire nécessaire, voire illimitée, de la musique et de la composition de la musique (et évidemment, de l'improvisation, de l'instrumentarium, de l'espace d'écoute, etc.). Et ceci engage les dimensions politiques et d'expériences de la musique. —— This study explores the career and the works of the composer Jean-Claude Eloy. It consists of press reviews and articles, about the series of works premieres and about the evolving context of contemporary music, mainly during the period 1960-1990 in France. Jean-Claude Eloy is still and actively composing new works, out of the mainstream of the music industry and of straight orthodoxies in music, and pushes us to deeply think about the necessary and unlimited openness of music and music composition, (and improvisation, instrumentaria, listening room, etc.) to its own history and at the same time to other cultures. Music must be exploratory and certainly implies political and experiental dimensions.— [accédez à l'étude / read the study]— [autres études / other studies]

— We shape the environment that shapes us. What we discern as an auditorium and a listening space is now overflowing the specific physical structures and architecture (concert halls, venues, etc.) towards enlarged sensory enveloping forms. It appears as a hybridisation of actions and spaces where tactics such as collective-driven, individual weavings, embedding mobility and spaces/places visits, all contribute to the everyday experience. When we collaborate and oscillate with the environment, within mobility, by modulating and interacting with sonic expanses and continuities of the properties of the places, we listen to more than what we hear. It is not merely a question of positions and of trajectories of presences and bodies in an environment (visual, sonic, animated, landscape, ambiance, venue, concert hall, at home, with earphones, etc.). It is continuous and immediate actions of attention through mobility or of mobilised attention (to act in the now, to be aware of the now), of lithe, flexible, and absentminded exchanges and weavings with the fields of the sensible; of mobile versus immobile reality; of oscillations between the “possible” and the “real”. This generates aesthetics of experiential situations and creative, participative spatialisation experiences in our sonic environment. Thus, we need to explore and to consider a larger notion of auditorium that we are modulating and playing. — (Jérôme Joy)